NICK MAUSS
TALKS TO
EMMELYN BUTTERFIELD-ROSEN
ABOUT ARTISTS HE'S WRITTEN ABOUT
Free
RSVP required
(subject line: Nick Mauss)
Limited capacity
TALKS TO
EMMELYN BUTTERFIELD-ROSEN
ABOUT ARTISTS HE'S WRITTEN ABOUT
Free
RSVP required
(subject line: Nick Mauss)
Limited capacity
Friday,
April 26, 2024
7pm
Doors open
7:30pm
Event begins
April 26, 2024
7pm
Doors open
7:30pm
Event begins
The artist Nick Mauss has been writing about artists, filmmakers, couturières, performers, and others for years. Taken together, the figures in his essays of indirect critique assemble as an atypical genealogy.
People like Jochen Klein, Lorraine O’Grady, Madame Grès, Ian White, Florine Stettheimer, Reza Abdoh, Nicolas Moufarrege, Susan Cianciolo, Christian Bérard, Anne Teresa de Keersmaeker, Douglas Crimp, Jean Cocteau, Andy Warhol, Ray Johnson, Werner Schroeter, Kenneth Anger, and Jean Genet.
Or topics like needlepoint; costumes; the theatricalization of the city; lip-synching; dropped stitches in art history; or “painting against the straight mind.”
His essay on Rosemary Mayer, for example, starts like this:
I don’t go looking to make a discovery. But certain figures have a way of appearing unannounced, and reappearing—even interfering—while I’m already on my way elsewhere. Asleep in a footnote, pinned to the background, a name suddenly everywhere, until the din of recurrence reaches a frequency so startling, I wake up to the fact of an unshakeable presence, making new circuitry.
People like Jochen Klein, Lorraine O’Grady, Madame Grès, Ian White, Florine Stettheimer, Reza Abdoh, Nicolas Moufarrege, Susan Cianciolo, Christian Bérard, Anne Teresa de Keersmaeker, Douglas Crimp, Jean Cocteau, Andy Warhol, Ray Johnson, Werner Schroeter, Kenneth Anger, and Jean Genet.
Or topics like needlepoint; costumes; the theatricalization of the city; lip-synching; dropped stitches in art history; or “painting against the straight mind.”
His essay on Rosemary Mayer, for example, starts like this:
I don’t go looking to make a discovery. But certain figures have a way of appearing unannounced, and reappearing—even interfering—while I’m already on my way elsewhere. Asleep in a footnote, pinned to the background, a name suddenly everywhere, until the din of recurrence reaches a frequency so startling, I wake up to the fact of an unshakeable presence, making new circuitry.
For this event, Nick guides us through some of his circuitry (with cameo appearances by some of the artists) and talks with art historian Emmelyn Butterfield-Rosen, a long-time collaborator, about writing as artistic intervention.
This evening is also a celebration of a new book that gathers many of his writings, titled Dispersed Events: Selected Writings by Nick Mauss, edited and published by our good friends After 8 Books in Paris, with a foreword by Lynne Cooke. The book’s editors, Antonia Carrara and Benjamin Thorel join as well, to talk about the many activities of their bookshop and imprint.
P.S.: Josephine Pryde says: “This is the book I want to be reading right now.”
Organized by Anthony Huberman
This evening is also a celebration of a new book that gathers many of his writings, titled Dispersed Events: Selected Writings by Nick Mauss, edited and published by our good friends After 8 Books in Paris, with a foreword by Lynne Cooke. The book’s editors, Antonia Carrara and Benjamin Thorel join as well, to talk about the many activities of their bookshop and imprint.
P.S.: Josephine Pryde says: “This is the book I want to be reading right now.”
Organized by Anthony Huberman
Nick Mauss, Repeat, ink and tape on paper, 2023
Nick Mauss (b. 1980) works in spaces between mediums, disciplines, and histories. Recent exhibitions include Bizarre Silks, Private Imaginings & Narrative Facts, etc. (Kunsthalle Basel), Transmissions, Whitney Museum of American Art, and Intricate Others, Museu Serralves. His exhibition Close-fitting Night is currently on view at Galerie Chantal Crousel, Paris.
Emmelyn Butterfield-Rosen is a scholar of later nineteenth-century European art and cultural history. Her 2021 book Modern Art & the Remaking of Human Disposition (University of Chicago Press) explores major works by Georges Seurat, Gustav Klimt, Auguste Rodin, and the dancer and choreographer Vaslav Nijinsky to illuminate a transformation in approaches to body language in European art around 1900. She is currently Assistant Professor of Nineteenth-Century European Art at the Institute of Fine Arts at NYU.
Due to the age and character of the building, the space is not optimized for ADA accessibility and is located up a single flight of 20 stairs with handrails. If you have questions about access, please contact us in advance of the event, and we will make every effort to accommodate you.
